When I pick up a script for the first time, I might or might not have an idea of what's inside. Sometimes it's a play that I've done two or three times already, and other times it's an unpublished manuscript without even a blurb on the back to help me orient myself (and every place in between on that continuum!) The key here is to read the script several times, and to have very specific goals of what you will get out of each reading, delving deeper into the play with each repetition.
Following is a general outline of my approach, with the understanding that every play is different, and so every approach is going to be different. I read abstract contemporary plays differently than I do so-called 'well-made' plays. I read Shakespeare differently than Chekhov. Big Broadway musicals read differently than 2-person dramas. But most plays boil down to relationships- between characters, with the audience, with society. With that in mind, here's how I often find myself approaching most plays:
Following is a general outline of my approach, with the understanding that every play is different, and so every approach is going to be different. I read abstract contemporary plays differently than I do so-called 'well-made' plays. I read Shakespeare differently than Chekhov. Big Broadway musicals read differently than 2-person dramas. But most plays boil down to relationships- between characters, with the audience, with society. With that in mind, here's how I often find myself approaching most plays:
1st Reading: What's Happening?Especially if you're going into a play with no familiarity, the only thing you're getting out of the first reading is a basic sense of plot, character, and setting. Don't waste your time doing anything deeper- you won't know what to look for until you have a basic familiarity of what's going on, so don't waste time on it now.
Some tips:
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2nd Reading: Play AnalysisAfter the first reading you will already have a pretty decent sense of the style of play. Some basic things like the level of realism or abstraction will be clear. You may also have at least a beginning sense of the playwright's intention. You can begin to answer my most important questions for a producing organization:
Why this PLAY, for this AUDIENCE, at this TIME? During this reading, read more carefully. Take your time. Take notes- either in the margins of the script, on sticky-notes (my favorite method), or in a notebook. Don't worry about the design yet, but start to look for those traditional play analysis markers. In many cases, I find myself focusing on relationships- not only between characters, but also how characters relate to their surroundings, their society, and even to the audience. Here are a few thoughts about relationships that might help you get a deeper understanding of the play:
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3rd reading: Functions of Light
You will perhaps have noticed that I have spent very little attention on the physical environment of the design thus far. While I recommend against spending a lot of active energy on the actual production up until this point, it is inevitable that you will be jumping ahead to thinking about the functions of light. The third reading is when, for the first time, I want you to focus primarily on your production and your design.
During this reading, keep a notebook with headings for these Functions of Light: Given Circumstances, Mood, Selective Visibility, and Focus. (You will notice that I skipped Sculpting- this is a more physical function, which you will focus on much more specifically later in the process). For each of these functions, jot down thoughts that you have, broken down by scene if possible, or page number if there are few scene breaks in the play.
During this reading, keep a notebook with headings for these Functions of Light: Given Circumstances, Mood, Selective Visibility, and Focus. (You will notice that I skipped Sculpting- this is a more physical function, which you will focus on much more specifically later in the process). For each of these functions, jot down thoughts that you have, broken down by scene if possible, or page number if there are few scene breaks in the play.
- Given Circumstances: You've probably already given some thought to this area in your first couple of readings. This is an opportunity for you to specifically note time of day, weather, whether you're inside or outside, etc. It's also an opportunity for you to make some thoughts about the relative realism of the play or the scene. If the play is in an abstract environment, you may feel like given circumstances don't really apply, but the abstract space is itself a given circumstance. As you imagine what that space is, you can collect some of your thoughts here.
- Mood: How do you describe the emotional reality of each moment in the play? This is a great place to use 'feelings' adjectives. How happy or sad is each moment? Do the emotions of the characters extend into the environment of the play? Should the audience feel uneasy or comfortable? By writing down your thoughts about the mood of the play at this point, you will be better equipped later to create a cohesive design arc that emphasizes the trajectory of the play itself.
- (Selective) Visibility: With the understanding that visibility is ultimately a physical function that will be addressed later, this is a place for you to make specific observations for elements on stage that need to be particularly visible, or perhaps more importantly, elements that need to be hidden.
- Focus: Where should the audience be looking? Jot down places in the play that you might want to 'zoom in' on a character. I find myself highlighting particular speeches with notes like 'this is important'. This is also a spot where you look for 'secondary' focus. There are lots of times that action is happening in one area of the stage, but the audience needs to be aware of the reactions of a person that is removed from the central action. Placing that in your notes at this point will help you craft a composition later that allows for this split focus.
Now you're (almost) ready for the first design meeting!
In an ideal world, you've completed all of the above before you go into any conversations about the production itself. This is how prepared you should be for the first meeting. In reality, we often don't have the time to get through the play three times. Sometimes the second and third readings need to be compressed into a single session, in which you're pulling 'double-duty'. Regardless of the time that you have to dedicate to the project, it's important that you have most of what's outlined above so that you're ready to have a meaningful conversation about the play with the director and design team.
However, under almost no circumstance should you go into a design meeting without having read the play twice!
However, under almost no circumstance should you go into a design meeting without having read the play twice!